Under the Tuscan Sun for men
A Good Year (2006)
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Reviews Counted:123
Fresh:31
Rotten:92
Average Rating:4.8/10
Consensus: A Good Year is a fine example of a top-notch director and actor out of their elements, in a sappy romantic comedy lacking in charm and humor.
Rated: PG-13 [See Full Rating] for language and some sexual content
Runtime: 1 hr 58 mins
Genre: Comedies
Theatrical Release:Nov 10, 2006 Wide
Box Office: $7,365,004
Synopsis: Oscar®-winner Russell Crowe reunites with "Gladiator" director Ridley Scott in A GOOD YEAR, a Fox 2000 Pictures presentation of a Scott Free production. London-based investment expert Max Skinner... Oscar®-winner Russell Crowe reunites with "Gladiator" director Ridley Scott in A GOOD YEAR, a Fox 2000 Pictures presentation of a Scott Free production. London-based investment expert Max Skinner (Crowe) moves to Provence to sell a small vineyard he has inherited from his late uncle. Max reluctantly settles into what ultimately becomes an intoxicating new chapter in his life, as he comes to realize that life is meant to be savored. A GOOD YEAR is based on the best-selling novel of the same name by Peter Mayle. (Mayle and Ridley Scott, who are longtime friends, together came up with the idea for the novel.) Scott produces from a screenplay by Marc Klein. The film also stars the esteemed Albert Finney as Max's late Uncle Henry, who imparts wisdom to his young nephew; Marion Cotillard ("A Very Long Engagement") as a café owner who catches Max's eye; Abbie Cornish ("Sommersault") as Max's supposed long-lost cousin, who may hold the vineyard's title rights; Tom Hollander ("Pirates of the Caribbean: Dead Man's Chest") as his best friend; and Freddie Highmore ("Finding Neverland") as the young Max. Confident and cocky, headstrong and handsome, Max Skinner is a successful London banker who specializes in trading bonds. A financial barracuda on the banks of the Thames, Max devours the competition in his efforts to conquer the European market. His latest conquest has netted a tidy seven-figure profit, much to the chagrin of his Saville Row-draped rivals. Max's triumph is in perfect keeping with his philosophy: winning isn't everything, it's the only thing! Soon thereafter, Max receives word from France alerting him to sad news: his elderly Uncle Henry has passed away. Max, Henry's closest blood relative, is the sole beneficiary of his estate, which includes a Provençal chateau and vineyard, La Siroque, where Henry cultivated grapes for over thirty years. Max travels to the chateau where he spent his boyhood summers vacationing with his eccentric uncle, whom he hasn't seen or written to in years. While Max tends to the legal affairs of his inheritance, he is suspended from his firm, pending an investigation into his questionable bond transaction. With his future in London in flux, Max reluctantly begins settling into life at the chateau. He reunites with the chateau's longtime vigneron, Francis Duflot (still tending the vines after three decades), whom Max remembers from his boyhood visits. Duflot's exuberant wife, Ludivine, the estate's housekeeper, warmly welcomes Max back. Max is uncertain as to whether life in the South of France suits him. He rings up his best friend, London realtor Charlie Willis, to inquire as to what a small chateau and winery like La Siroque would command on the current market. Charlie advises Max that small wineries with a good product can bring several million dollars, as boutique wine, made in small batches, is the rage in wine shops. It's money in the bank for Max should he lose his job. As Max fondly embraces the memories of summers past (spent with a man whose wisdom and philosophy helped Max chart his successful career) while contemplating a cloudy future, a complication arises with the sudden arrival of a determined, twentysomething California girl, Christie Roberts. Christie, a Napa Valley native, claims to be the illegitimate daughter of the deceased uncle. The revelation, if true, makes her Max's cousin and, according to French law, the beneficiary of La Siroque. Suspecting Christie may be a fraud, Max questions her about her past while bickering with her over the fate of the vineyard, whose plonk (as the French define bad wine) rivals the worst vinegar imaginable. Max, who has tasted La Siroque's awful vin de pays, also finds some other bottles in Uncle Henry's cellar bearing the name Le Coin Perdu (‘the lost corner'). This mysterious, legendary vin de garage has fetched thousands per bottle on the black market for years, according to the fetching local cafe owner, Fanny Chenal, with whom Max has become smitten. Where does the wine come from, and why is Duflot so insistent on staying at La Siroque whatever the vineyard's fate? And, what about some unusual vines discovered on the property by Christie, which the crusty vintner claims are experimental in nature, and a renowned oenologue has deemed unworthy? Max's memories and the passage of time bring forth emotions and feelings he thought were long lost, and afford him a new appreciation of his late Uncle Henry's philosophy on life – and on life in Provence: "There's nowhere else in the world where one can keep busy doing so little, yet enjoy it so much!" --© 20th Century Fox [More]
Starring: Russell Crowe, Marion Cotillard, Albert Finney, Freddie Highmore
Starring: Russell Crowe, Marion Cotillard, Albert Finney, Freddie Highmore, Archie Panjabi, Richard Coyle, Tom Hollander, Giannina Facio, Abbie Cornish
Director: Ridley Scott
Director: Ridley Scott
Screenwriter: Marc Klein
Story: Peter Mayle
Studio: Fox 2000 Pictures
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Reviews for A Good Year
The course A Good Year takes feels like it's on rails: there's only one possible destination and only one way to get there.
A Good Year feels as if it takes a year to watch, and not a very good year at that.
This seemingly unassailable trifecta of director, actor and setting is as stale as a week-old baguette.
Crowe has located his funnybone again in a conventional but engaging romantic comedy ...
There are precious few surprises in A Good Year -- its story, like its garden paths, is well-trod and familiar.
Ridley Scott's sun-dappled tale of wine-making in the wilds of Provence slips down easily enough but leaves a nasty residue on the palate.
A shamelessly enjoyable retread, an ode to la belle vie that has been well turned on a factory spindle.
Definitely not vintage Crowe ... He can do a world of things as a leading man, but Cary Grant (or Tom Hanks) he's not.
Audiences will have to be content with the admittedly lovely Provence landscape and Ridley Scott’s slick, superficial direction. Those searching for anything more will be sorely disappointed.
Ridley Scott and Russell Crowe attempt light romantic comedy in A Good Year, and the results are as grindingly discordant as a punk band writing a suite of waltzes.
It's the first time [Crowe or Scott] has tried his hand at comedy; there's a lot of self-conscious talk about the importance of timing, but the tony sense of entitlement tends to dampen any laughs.
A pleasant jaunt through one of the most beautiful places on the planet -- encased in a story that ends up making you feel that all is right with the world.
It's no surprise that you can see A Good Year's plot twists and clunker of an ending from a mile away.
The lush glimmer of the scenery is so eye-catching that it's easy to sit back and experience A Good Year as a kind of tony travelogue.
What would happen if Ridley Scott directed Under the Tuscan Sun and replaced Diane Lane with Russell Crowe? You'd have A Good Year.
... a film with all the subtlety and bouquet of a screw-top bottle of wine purchased in the bargain bin of your local supermarket.
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